This was a fair question for Dalha to ask, but it was also one that I could not answer. I told her that I would return to talk to her the next day, hoping she would have calmed down by then.

Unfortunately, I never saw Dalha again. That night she was found dead on the street. Presumably she had been waiting for a cab to take her home from a bar or a party or some other human gathering place where she had gotten very drunk. But it was not her drinking or her exhausting bohemian social life that killed Dalha. She had, in fact, choked to death while waiting for a cab very late at night. Her body was taken to a hospital for examination. There it was discovered that an object had been lodged inside her. Someone, it appeared, had violently thrust something down her throat. The object, as described in a newspaper article, was the 'small plastic arm of a toy doll.' Whether this doll's arm had been painted emerald green, or any other color, was not mentioned in the article. Surely the police searched through Dalha D. Fine Arts and found many more such objects arranged in a wire wastebasket, each of them painted different colors. No doubt they also found the exhibit of the dream monologues with its unsigned artworks and tape recorder stolen from the library. But they could never have made the connection between these tape-recorded artworks and the grotesque death of the gallery owner.

After that night I no longer felt the desperate need to possess the monologues, not even the final bus shelter tape, which I have never heard. I was now in possession of the original handwritten ma.n.u.scripts from which the tape-recording artist had created his dream monologues and which he had left for me in a large envelope on my desk at the library. Even then he knew, as I did not know, that after our first meeting we would never meet again. The handwriting on the ma.n.u.script pages is somewhat like my own, although the slant of the letters betrays a left-handed writer, whereas I am right-handed. Over and over I read the dream monologues about the bus shelter and the derelict factory and especially about the bungalow house, where the moonlight shines upon a carpet littered with the bodies of vermin. I try to experience the infinite terror and dreariness of a bungalow universe in the way I once did, but it is not the same as it once was. There is no comfort in it, even though the vision and the underlying principles are still the same. I know in a way I never knew before that there is nowhere for me to go, nothing for me to do, and no one for me to know. The voice in my head keeps reciting these old principles of mine. The voice is his voice, and the voice is also my voice. And there are other voices, voices I have never heard before, voices that seem to be either dead or dying in a great moonlit darkness. More than ever, some sort of new arrangement seems in order, some dramatic and unknown arrangement-anything to find release from this heartbreaking sadness I suffer every minute of the day (and night), this killing sadness that feels as if it will never leave me no matter where I go or what I do or whom I may ever know.

The Red Tower (1996).

First published in The Nightmare Factory, 1996.

Also published in: The Shadow At The Bottom Of The World, Teatro Grottesco.

The ruined factory stood three stories high in an otherwise featureless landscape. Although somewhat imposing on its own terms, it occupied only the most un.o.btrusive place within the gray emptiness of its surroundings, its presence serving as a mere accent upon a desolate horizon. No road led to the factory, nor were there any traces of one that might have led to it at some time in the distant past. If there had ever been such a road it would have been rendered useless as soon as it arrived at one of the four, red-bricked sides of the factory, even in the days when the facility was in full operation. The reason for this was simple: no doors had been built into the factory; no loading docks or entranceways allowed penetration of the outer walls of the structure, which was solid brick on all four sides without even a single window below the level of the second floor. The phenomenon of a large factory so closed off from the outside world was a point of extreme fascination to me. It was almost with regret that I ultimately learned about the factory's subterranean access. But of course that revelation in its turn also became a source for my truly degenerate sense of amazement, my decayed fascination.

The factory had long been in ruins, its innumerable bricks worn and crumbling, its many windows shattered. Each of the three enormous stories that stood above the ground level was vacant of all but dust and silence. The machinery, which had densely occupied the three floors of the factory as well as considerable s.p.a.ce beneath it, is said to have evaporated-I repeat, evaporated-soon after the factory ceased operation, leaving behind only a few spectral outlines of deep vats and tanks, twisting tubes and funnels, harshly grinding gears and levers, giant belts and wheels that could be most clearly seen at twilight-and later, not at all. According to these strictly hallucinatory accounts, the whole of the Red Tower, as the factory was known, had always been subject to fadings at certain times. This phenomenon, in the delirious or dying words of several witnesses, was due to a profound hostility between the noisy and malodorous operations of the factory and the desolate purity of the landscape surrounding it, the conflict occasionally resulting in temporary erasures, or fadings, of the former by the latter.

Despite their ostensibly mad or credulous origins, these testimonies, it seemed to me, deserved more than a cursory hearing. The legendary conflict between the factory and the grayish territory surrounding it may very well have been a fabrication of individuals who were lost in the advanced stages of either physical or psychic deterioration. Nonetheless, it was my theory, and remains so, that the Red Tower was not always that peculiar color for which it ultimately earned its fame. Thus the encrimsoning of the factory was a betrayal, a breaking-off, for it is my postulation that this ancient structure was in long-forgotten days the same pale hue as the world which encompa.s.sed it. Furthermore, with an insight born of dispa.s.sion to the point of total despair, I envisioned that the Red Tower was never solely devoted to the lowly functions of an ordinary factory.

Beneath the three soaring stories of the Red Tower were two, possibly three, other levels. The one immediately below the first floor of the factory was the nexus of a unique distribution system for the goods which were manufactured on all three of the floors above. This first subterranean level in many ways resembled, and functioned in the manner of, an old-fashioned underground mine. Elevator compartments enclosed by a heavy wire mesh, twisted and corroded, descended far below the surface into an expansive chamber which had been crudely dug out of the rocky earth and was haphazardly perpetuated by a dense structure of supports, a criss-crossing network of posts and pillars, beams and rafters, that included a variety of materials-wood, metal, concrete, bone, and a fine sinewy webbing that was fibrous and quite firm. From this central chamber radiated a system of tunnels that honeycombed the land beneath the gray and desolate country surrounding the Red Tower. Through these tunnels the goods manufactured by the factory could be carried, sometimes literally by hand, but more often by means of small wagons and carts, reaching near and far into the most obscure and unlikely delivery points.

The trade that was originally produced by the Red Tower was in some sense remarkable, but not, at first, of an extraordinary or especially ambitious nature.

This was a gruesome array of goods that could perhaps best be described as novelty items. In the beginning there was a chaotic quality to the objects and constructions produced by the machinery at the Red Tower, a randomness that yielded formless things of no consistent shape or size or apparent design. Occasionally there might appear a peculiar ashen lump that betrayed some semblance of a face or clawing fingers, or perhaps an a.s.semblage that looked like a casket with tiny irregular wheels, but for the most part the early productions seemed relatively innocuous. After a time, however, things began to fall into place, as they always do, rejecting a harmless and uninteresting disorder-never an enduring state of affairs-and taking on the more usual plans and purposes of a viciously intent creation.

So it was that the Red Tower put into production its new, more terrible and perplexing, line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stage of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight and insistently grew back should one attempt to clip them. Numerous natural objects, mostly bulbous gourds, were designed to produce a long, deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough, igneous forms were set a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quant.i.ty at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling 'hands' were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of a kind which might pa.s.s through a fever-stricken or even permanently damaged brain.

As it was revealed to me, and as I have already revealed to you, the means of distributing the novelty goods fabricated at the Red Tower was a system of tunnels located on the first level, not the second (or, possibly, third), that had been excavated below the three-story factory building itself. It seems that these subterranean levels were not necessarily the foundation of the original plan of the factory but were in fact a perverse and unlikely development that might have occurred only as the structure known as the Red Tower underwent, over time, its own mutation from some prior state until it finally became a lowly site for manufacturing. This mutation apparently demanded the excavation-whether from above or below I cannot say-of a system of tunnels as a means for distributing the novelty goods which, for a time, the factory produced.

As the unique inventions of the Red Tower achieved their final forms, they seemed to be a.s.signed specific locations to which they were destined to be delivered, either by hand or by small wagons or carts pulled over sometimes great distances through the system of underground tunnels. Where they might ultimately pop up was anybody's guess. It might be in the back of a dark closet, buried under a pile of undistinguished junk, where some item of the highest and most extreme novelty would lie for quite some time before it was encountered by sheer accident or misfortune. Conversely, the same invention, or an entirely different one, might be placed on the night-table beside someone's bed for near-immediate discovery. Any delivery point was possible; none was out of the reach of the Red Tower. There has even been testimony, either intensely hysterical or semi-conscious, of items from the factory being uncovered within the shelter of a living body, or one not long deceased. I know that such an achievement was within the factory's powers, given its later production history. But my own degenerate imagination is most fully captured by the thought of how many of those monstrous novelty goods produced at the Red Tower had been scrupulously and devoutly delivered-solely by way of those endless underground tunnels-to daringly remote places where they would never be found, nor ever could be. Truly, the Red Tower worked in mysterious ways.

Just as a system of distribution tunnels had been created by the factory when it developed into a manufacturer of novelty goods, an expansion of this system was required as an entirely new phase of production gradually evolved. Inside the wire-mesh elevator compartment that provided access between the upper region of the factory and the underground tunnels, there was now a special lever installed which, when pulled back, or possibly pushed forward (I do not know such details), enabled one to descend to a second subterranean level. This latterly excavated area was much smaller, far more intimate, than the one directly above it, as could be observed the instant the elevator compartment came to a stop and a full view of things was attained. The scene which now confronted the uncertain minds of witnesses was in many ways like that of a secluded graveyard, surrounded by a rather crooked fence of widely s.p.a.ced pickets held together by rusty wire. The headstones inside the fence all closely pressed against one another and were quite common, though somewhat antiquated, in their design. However, there were no names or dates inscribed on these monuments-nothing at all, in fact, with the exception of some rudimentary and abstract ornamentation. This could be verified only when the subterranean graveyard was closely approached, for the lighting at this level was dim and unorthodox, provided exclusively by the glowing stone walls enclosing the area. These walls seemed to have been covered with phosph.o.r.escent paint which bathed the graveyard in a cloudy, grayish haze. For the longest time-how long I cannot say-my morbid reveries were focused on this murky vision of a graveyard beneath the factory, a subterranean graveyard surrounded by a crooked picket fence and suffused by the highly defective illumination given off by phosph.o.r.escent paint applied to stone walls. For the moment I must emphasize the vision itself, without any consideration paid to the utilitarian purposes of this place, that is, the function it served in relation to the factory above it.

The truth is that at some point all of the factory's functions were driven underground to this graveyard level. Long before the complete evaporation of machinery in the Red Tower, something happened to require the shut-down of all operations in the three floors of the factory which were above ground level. The reasons for this action are deeply obscure, a matter for contemplation only when a state of hopeless and devouring curiosity has reached its height, when the burning light of speculation becomes so intense that it threatens to incinerate everything on which it shines. To my own mind it seems entirely valid to reiterate at this juncture the longstanding tensions that existed between the Red Tower, which I believe was not always stigmatized by such a hue and such a t.i.tle, and the grayish landscape of utter desolation that surrounded this structure on all sides, looming around and above it for quite incalculable distances. But below the ground level of the factory was another matter: it was here that its operations at some point retreated; it was here, specifically at this graveyard level, that they continued.

Clearly the Red Tower had committed some violation or offense, its clamoring activities and unorthodox products-perhaps its very existence-const.i.tuting an affront to the changeless quietude of the world around it. In my personal judgment there had been a betrayal involved, a treacherous breaking of a bond. I can certainly picture a time before the existence of the factory, before any of its features blemished the featureless country that extended so gray and so desolate on every side. Dreaming upon the grayish desolation of that landscape, I also find it quite easy to imagine that there might have occurred a lapse in the monumental tedium, a spontaneous and inexplicable impulse to deviate from a dreary perfection, perhaps even an unconquerable desire to risk a move toward a tempting defectiveness. As a concession to this impulse or desire out of nowhere, as a minimal surrender, a creation took place and a structure took form where there had been nothing of its kind before. I picture it, at its inception, as a barely discernable irruption in the landscape, a mere sketch of an edifice, possibly translucent when making its first appearance, a gray density rising in the grayness, embossed upon it in a most tasteful and harmonious design. But such structures or creations have their own desires, their own destinies to fulfill, their own mysteries and mechanisms which they must follow at whatever risk.

From a gray and desolate and utterly featureless landscape a dull edifice had been produced, a pale, possibly translucent tower which, over time, began to develop into a factory and to issue, as if in the spirit of the most grotesque belligerence, a line of quite morbid, quite wonderfully disgusting novelty goods. In an expression of defiance, at some point, it reddened with an enigmatic pa.s.sion for betrayal and perversity. On the surface the Red Tower might have seemed a splendid complement to the grayish desolation of its surroundings, making a unique, picturesque composition that served to define the glorious essence of each of them. But in fact there existed between them a profound and ineffable hostility. An attempt was made to reclaim the Red Tower, or at least to draw it back toward the formless origins of its being. I am referring, of course, to that show of force which resulted in the evaporation of the factory's dense a.r.s.enal of machinery. Each of the three stories of the Red Tower had been cleaned out, purged of its offending means of manufacturing novelty items, and the part of the factory that rose above the ground was left to fall into ruins.

Had the machinery in the Red Tower not been evaporated, I believe that the subterranean graveyard, or something very much like it, would nonetheless have come into existence at some point or another. This was the direction in which the factory had been moving, a fact suggested by some of its later models of novelty items. Machines were becoming obsolete as the diseased mania of the Red Tower intensified and evolved into more experimental, even visionary projects. I have previously reported that the headstones in the factory's subterranean graveyard were absent of any names of the interred and were without dates of birth and death. This truth has been confirmed by numerous accounts rendered in borderline gibberish. The reason for these blank headstones is entirely evident as one gazes upon them standing crooked and closely packed together in the phosph.o.r.escent haze given off by the stone walls covered with luminous paint. None of these graves, in point of fact, could be said to have anyone buried in them whose names and dates of birth and death would require inscription on the headstones. These were not what might be called burying graves. This is to say that these were in no sense graves for burying the dead. Quite the contrary: these were graves of a highly experimental design from which the newest productions of the Red Tower were to be born.

From its beginnings as a manufacturer of novelty items of an extravagant nature, the factory had now gone into the business of creating what came to be known as 'hyper-organisms.' These new productions were also of a fundamentally extreme nature, representing an even greater divergence on the part of the Red Tower from the bland and gray desolation in the midst of which it stood. As implied by their designation as hyper-organisms, this line of goods displayed the most essential qualities of their organic nature, which meant, of course, that they were wildly conflicted in their two basic features. On the one hand, they manifested an intense vitality in all aspects of their form and function; on the other hand, and simultaneously, they manifested an ineluctable element of decay in these same areas. To state this matter in the most lucid terms: each of these hyper-organisms, even as they scintillated with an obscene degree of vital impulses, also, and at the same time, had degeneracy and death written deeply upon them. In accord with a tradition of dumbstruck insanity, it seems the less said about these offspring of the birthing graves, or any similar creations, the better. I myself have been almost entirely restricted to a state of seething speculation concerning the luscious particularities of all hyper-organic phenomena produced in the subterranean graveyard of the Red Tower. Although we may reasonably a.s.sume that such creations were not to be called beautiful, we cannot know for ourselves the mysteries and mechanisms of, for instance, how these creations moved throughout the hazy luminescence of that underground world; what creaky or spasmic gestures they might have been capable of executing, if any; what sounds they might have made or the organs used for making them; how they might have appeared when awkwardly emerging from deep shadows or squatting against those nameless headstones; what trembling stages of mutation they almost certainly would have undergone following the generation of their larvae upon the barren earth of the graveyard; what their bodies might have produced or emitted in the way of fluids and secretions; how they might have responded to the mutilation of their forms for reasons of an experimental or entirely savage nature. Often I picture to myself what frantically clawing efforts these creations probably made to deliver themselves from that confining environment which their malformed or nonexistent brains could not begin to understand. They could not have comprehended, any more than can I, for what purpose they were bred from those graves, those incubators of hyper-organisms, minute factories of flesh that existed wholly within and far below the greater factory of the Red Tower.

It was no surprise, of course, that the production of hyper-organisms was not allowed to continue for very long before a second wave of destruction was visited upon the factory. This time it was not merely the fading and ultimate evaporation of machinery that took place; this time it was something far more brutal. Once again, forces of ruination were directed at the factory, specifically the subterranean graveyard located at its second underground level, its three-story structure that stood above ground having already been rendered an echoing ruin. Information on what remained of the graveyard, and of its cleverly blasphemous works, is available to my own awareness only in the form of shuddering and badly garbled whispers of mayhem and devastation and wholesale sundering of the most unspeakable sort. These same sources also seem to regard this incident as the culmination, if not the conclusion, of the longstanding hostilities between the Red Tower and that grayish halo of desolation that hovered around it on all sides. Such a shattering episode would appear to have terminated the career of the Red Tower.

Nevertheless, there are indications that, appearances to the contrary, the factory continues to be active despite its status as a silent ruin. After all, the evaporation of the machinery which turned out countless novelty items in the three-story red-brick factory proper, and the ensuing obsolescence of its sophisticated system of tunnels at the first underground level, did not prevent the factory from pursuing its business by other and more devious means. The work at the second underground level (the graveyard level) went very well for a time. Following the vicious decimation of those ingenious and fertile graves, along with the merchandise they produced, it may have seemed that the manufacturing history of the Red Tower had been brought to a close. Yet there are indications that below the three-story above-ground factory, below the first and the second underground levels, there exists a third level of subterranean activity. Perhaps it is only a desire for symmetry, a hunger for compositional balance in things, that has led to a series of the most vaporous rumors anent this third underground level, in order to provide a kind of complementary proportion to the three stories of the factory that rise into the gray and featureless landscape above ground. At this third level, these rumors maintain, the factory's schedule of production is being carried out in some new and strange manner, representing its most ambitious venture in the output of putrid creations, ultimately consummating its tradition of degeneracy, reaching toward a perfection of defect and disorder, according to every polluted and foggy rumor concerned with this issue.

Perhaps it seems that I have said too much about the Red Tower, and perhaps it has sounded far too strange. Do not think that I am unaware of such things. But as I have noted throughout this doc.u.ment, I am only repeating what I have heard. I myself have never seen the Red Tower-no one ever has, and possibly no one ever will. And yet wherever I go, people are talking about it. In one way or another they are talking about the nightmarish novelty items or about the mysterious and revolting hyper-organisms, as well as babbling endlessly about the subterranean system of tunnels and the secluded graveyard whose headstones display no names and no dates designating either birth or death. Everything they are saying is about the Red Tower, in one way or another, and about nothing else but the Red Tower. We are all talking and thinking about the Red Tower in our own degenerate way. I have only recorded what everyone is saying (though they may not know they are saying it), and sometimes what they have seen (though they may not know they have seen it). But still they are always talking, in one deranged way or another, about the Red Tower. I hear them talk of it every day of my life. Unless, of course, they begin to speak about that gray and desolate landscape, that hazy void in which the Red Tower-the great and industrious Red Tower-is so precariously nestled. Then the voices grow quiet until I can barely hear them as they attempt to communicate with me in choking sc.r.a.ps of post-nightmare trauma. Now is just such a time when I must strain to hear the voices. I wait for them to reveal to me the new ventures of the Red Tower as it proceeds into even more corrupt phases of production, including the creations being turned out by the shadowy workshop of its third subterranean level. I must keep still and listen for the voices; I must remain quiet for a terrifying moment. Then I will hear the news of the factory starting up its operations once more. Then I will be able to speak again of the Red Tower.

Teatro Grottesco (1996).

First published in The Nightmare Factory, 1996.

Also published in: The Shadow At The Bottom Of The World, Teatro Grottesco.

The first thing I learned was that no one antic.i.p.ates the arrival of the Teatro. One would not say, or even think, 'The Teatro has never come to this city-it seems we're due for a visit,' or perhaps, 'Don't be surprised when you-know-what turns up. It's been years since the last time.' Even if the city in which one lives is exactly the kind of place favored by the Teatro, there can be no basis for predicting its appearance. No warnings are given, no fanfare to announce that a Teatro season is about to begin, or that another season of that sort will soon be upon us. But if a particular city possesses what is sometimes called an 'artistic underworld,' and if one is in close touch with this society of artists, the chances are optimal for being among those who discover that things have already started. This is the most one can expect.

For a time it was all rumors and lore, hearsay and dreams. Anyone who failed to show up for a few days at the usual club or bookstore or special artistic event was the subject of speculation. But most of the crowd I am referring to led highly unstable, even precarious lives. Any of them might have packed up and disappeared without notifying a single soul. And almost all of the supposedly 'missing ones' were, at some point, seen again. One such person was a filmmaker whose short movie Private h.e.l.l served as the featured subject of a local one-night festival. But he was nowhere to be seen either during the exhibition or at the party afterward. 'Gone with the Teatro,' someone said with a blase knowingness, while others smiled and clinked gla.s.ses in a sardonic farewell toast.

Yet only a week later the filmmaker was spotted in one of the back rows of a p.o.r.nographic theater. He later explained his absence by insisting he had been in the hospital following a thorough beating at the hands of some people he had been filming who did not consent or desire to be filmed. This sounded plausible, given the subject matter of the man's work. But for some reason no one believed his hospital story, despite the evidence of bandages he was still required to wear. 'It has to be the Teatro,' argued a woman who always dressed in shades of purple and who was a good friend of the filmmaker. 'His stuff and Teatro stuff,' she said, holding up two crossed fingers for everyone to see.

But what was meant by 'Teatro stuff'? This was a phrase I heard spoken by a number of persons, not all of them artists of a pretentious or self-dramatizing type. Certainly there is no shortage of anecdotes that have been pa.s.sed around which purport to illuminate the nature and workings of this 'cruel troupe,' an epithet used by those who are too superst.i.tious to invoke the Teatro Grottes...o...b.. name. But sorting out these accounts into a coherent profile, never mind their truth value, is another thing altogether.

For instance, the purple woman I mentioned earlier held us all spellbound one evening with a story about her cousin's roommate, a self-styled 'visceral artist' who worked the night shift as a stock clerk for a supermarket chain in the suburbs. On a December morning, about an hour before sun-up, the artist was released from work and began his walk home through a narrow alley that ran behind several blocks of various stores and businesses along the suburb's main avenue. A light snow had fallen during the night, settling evenly upon the pavement of the alley and glowing in the light of a full moon which seemed to hover just at the alley's end. The artist saw a figure in the distance, and something about this figure, this winter-morning vision, made him pause for a moment and stare. Although he had a trained eye for sizing and perspective, the artist found this silhouette of a person in the distance of the alley intensely problematic. He could not tell if it was short or tall, or even if it was moving-either toward him or away from him-or was standing still. Then, in a moment of hallucinated wonder, the figure stood before him in the middle of the alley.

The moonlight illuminated a little man who was entirely unclothed and who held out both of his hands as if he were grasping at a desired object just out of his reach. But the artist saw that something was wrong with these hands. While the little man's body was pale, his hands were dark and were too large for the tiny arms on which they hung. At first the artist believed the little man to be wearing oversized mittens. His hands seemed to be covered by some kind of fuzz, just as the alley in which he stood was layered with the fuzziness of the snow that had fallen during the night. His hands looked soft and fuzzy like the snow, except that the snow was white and his hands were black.

In the moonlight the artist came to see that the mittens worn by this little man were more like the paws of an animal. It almost made sense to the artist to have thought that the little man's hands were actually paws which had only appeared to be two black mittens. Then each of the paws separated into long thin fingers that wriggled wildly in the moonlight. But they could not have been the fingers of a hand, because there were too many of them. So what appeared to be fingers could not have been fingers, just as the hands were not in fact hands nor the paws really paws-no more than they were mittens. And all of this time the little man was becoming smaller and smaller in the moonlight of that alley, as if he were moving into the distance far away from the artist who was hypnotized by this vision. Finally a little voice spoke which the artist could barely hear, and it said to him: 'I cannot keep them away from me anymore, I am becoming so small and weak.' These words suddenly made this whole winter-morning scenario into something that was too much even for the self-styled 'visceral artist.'

In the pocket of his coat the artist had a tool which he used for cutting open boxes at the supermarket. He had cut into flesh in the past, and, with the moonlight glaring upon the snow of that alley, the artist made a few strokes which turned that white world red. Under the circ.u.mstances what he had done seemed perfectly justified to the artist, even an act of mercy. The man was becoming so small.

Afterward the artist ran through the alley without stopping until he reached the rented house where he lived with his roommate. It was she who telephoned the police, saying there was a body lying in the snow at such and such a place and then hanging up without giving her name. For days, weeks, the artist and his roommate searched the local newspapers for some word of the extraordinary thing the police must have found in that alley. But nothing ever appeared.

'You see how these incidents are hushed up,' the purple woman whispered to us. 'The police know what is going on. There are even special police for dealing with such matters. But nothing is made public, no one is questioned. And yet, after that morning in the alley, my cousin and her roommate came under surveillance and were followed everywhere by unmarked cars. Because these special policemen know that it is artists, or highly artistic persons, who are approached by the Teatro. And they know whom to watch after something has happened. It is said that these police may be party to the deeds of that "company of nightmares."'

But none of us believed a word of this Teatro anecdote told by the purple woman, just as none of us believed the purple woman's friend, the filmmaker, when he denied all innuendos that connected him to the Teatro. On the one hand, our imaginations had sided with this woman when she a.s.serted that her friend, the creator of the short movie Private h.e.l.l, was somehow in league with the Teatro; on the other hand, we were mockingly dubious of the story about her cousin's roommate, the self-styled visceral artist, and his encounter in the snow-covered alley.

This divided reaction was not as natural as it seemed. Never mind that the case of the filmmaker was more credible than that of the visceral artist, if only because the first story was lacking the extravagant details which burdened the second. Until then we had uncritically relished all we had heard about the Teatro, no matter how bizarre these accounts may have been and no matter how much they opposed a verifiable truth or even a coherent portrayal of this phenomenon. As artists we suspected that it was in our interest to have our heads filled with all kinds of Teatro craziness. Even I, a writer of nihilistic prose works, savored the inconsistency and the flamboyant absurdity of what was told to me across a table in a quiet library or a noisy club. In a word, I delighted in the unreality of the Teatro stories. The truth they carried, if any, was immaterial. And we never questioned any of them until the purple woman related the episode of the visceral artist and the small man in the alley.

However, this new disbelief was not in the least inspired by our sense of reason or reality. It was in fact based solely on fear; it was driven by the will to negate what one fears. No one gives up on something until it turns on them, whether or not that thing is real or unreal. In some way all of this Teatro business had finally worn upon our nerves; the balance had been tipped between a madness that intoxicated us and one that began to menace our minds. As for the woman who always dressed herself in shades of purple... we avoided her. It would have been typical of the Teatro, someone said, to use a person like that for their purposes.

Perhaps our judgment of the purple woman was unfair. No doubt her theories concerning the 'approach of the Teatro' made us all uneasy. But was this reason enough to cast her out from that artistic underworld which was the only society available to her? Like many societies, of course, ours was founded on fearful superst.i.tion, and this is always reason enough for any kind of behavior. She had been permanently stigmatized by too closely a.s.sociating herself with something unclean in its essence. Because even after her theories were discredited by a newly circulated Teatro tale, her status did not improve.

I am now referring to a story that was going around in which an artist was not approached by the Teatro but rather took the first step toward the Teatro, as if acting under the impulse of a sovereign will.

The artist in this case was a photographer of the I-am-a-camera type. He was a studiedly bloodless specimen who quite often, and for no apparent reason, would begin to stare at someone and to continue staring until that person reacted in some manner, usually by fleeing the scene but on occasion by a.s.saulting the photographer, who invariably pressed charges. It was therefore not entirely surprising to learn that he tried to engage the services of the Teatro in the way he did, for it was his belief that this cruel troupe could be hired to, in the photographer's words, 'utterly destroy someone.' And the person he wished to destroy was his landlord, a small balding man with a mustache who, after the photographer had moved out of his apartment, refused to remit his security deposit, perhaps with good reason but perhaps not.

In any case, the photographer, whose name incidentally was Spence, made inquiries about the Teatro over a period of some months. Following up every sc.r.a.p of information, no matter how obscure or suspect, the tenacious Spence ultimately arrived in the shopping district of an old suburb where there was a two-story building that rented s.p.a.ce to various persons and businesses, including a small video store, a dentist, and, as it was spelled out on the building's directory, the Theatre Grottesco. At the back of the first floor, directly below a studio for dancing instruction, was a small suite of offices whose gla.s.s door displayed some stencilled lettering that read: tg ventures. Seated at a desk in the reception area behind the gla.s.s door was a young woman with long black hair and black-rimmed eyegla.s.ses. She was thoroughly engrossed in writing something on a small blank card, several more of which were spread across her desk. The way Spence told it, he was undeterred by all appearances that seemed to suggest the Teatro, or Theatre, was not what he a.s.sumed it was. He entered the reception area of the office, stood before the desk of the young woman, and introduced himself by name and occupation, believing it important to communicate as soon as possible his ident.i.ty as an artist, or at least imply as best he could that he was a highly artistic photographer, which undoubtedly he was. When the young woman adjusted her eyegla.s.ses and asked, 'How can I help you?' the photographer Spence leaned toward her and whispered, 'I would like to enlist the services of the Teatro, or Theatre if you like.' When the receptionist asked what he was planning, the photographer answered, 'To utterly destroy someone.' The young woman was absolutely unfl.u.s.tered, according to Spence, by this declaration. She began calmly gathering the small blank cards that were spread across her desk and, while doing this, explained that TG Ventures was, in her words, an 'entertainment service.' After placing the small blank cards to one side, she removed from her desk a folded brochure outlining the nature of the business, which provided clowns, magicians, and novelty performances for a variety of occasions, their specialty being children's parties.

As Spence studied the brochure, the receptionist placidly sat with her hands folded and gazed at him from within the black frames of her eyegla.s.ses. The light in that suburban office suite was bright but not harsh; the pale walls were incredibly clean and the carpeting, in Spence's description, was conspicuously new and displayed the exact shade of purple found in turnips. The photographer said that he felt as if he were standing in a mirage. 'This is all a front,' Spence finally said, throwing the brochure on the receptionist's desk. But the young woman only picked up the brochure and placed it back in the same drawer from which it had come. 'What's behind that door?' Spence demanded, pointing across the room. And just as he pointed at that door there was a sound on the other side of it, a brief rumbling as if something heavy had just fallen to the floor. 'The dancing cla.s.ses,' said the receptionist, her right index finger pointing up at the floor above. 'Perhaps,' Spence allowed, but he claimed that this sound that he heard, which he described as having an 'abysmal resonance,' caused a sudden rise of panic within him. He tried not to move from where he was standing, but his body was overwhelmed by the impulse to leave that suite of offices. The photographer turned away from the receptionist and saw his reflection in the gla.s.s door. She was watching him from behind the lenses of black-framed eyegla.s.ses, and the stencilled lettering on the gla.s.s door read backward, as if in a mirror. A few seconds later Spence was outside the building in the old suburb. All the way home, he a.s.serted, his heart was pounding.

The following day Spence paid a visit to his landlord's place of business, which was a tiny office in a seedy downtown building. Having given up on the Teatro, he would have to deal in his own way with this man who would not return his security deposit. Spence's strategy was to plant himself in his landlord's office and stare him into submission with a photographer's unnerving gaze. After he arrived at his landlord's rented office on the sixth floor of what was a thoroughly depressing downtown building, Spence seated himself in a chair looking across a filthy desk at a small balding man with a mustache. But the man merely looked back at the photographer. To make things worse, the landlord (whose name was Herman Zick) would lean toward Spence every so often and in a quiet voice say, 'It's all perfectly legal, you know.' Then Spence would continue his staring, which he was frustrated to find ineffective against this man Zick, who of course was not an artist, nor even a highly artistic person, as were the usual victims of the photographer. Thus the battle kept up for almost an hour, the landlord saying, 'It's all perfectly legal,' and Spence trying to hold a fixed gaze upon the man he wished to utterly destroy.

Ultimately Spence was the first to lose control. He jumped out of the chair in which he was sitting and began to shout incoherently at the landlord. Once Spence was on his feet, Zick swiftly maneuvered around the desk and physically evicted the photographer from the tiny office, locking him out in the hallway. Spence said that he was in the hallway for only a second or two when the doors opened to the elevator that was directly across from Zick's sixth-floor office. Out of the elevator compartment stepped a middle-aged man in a dark suit and black-framed eyegla.s.ses. He wore a full, well-groomed beard which, Spence observed, was slightly streaked with gray. In his left hand the gentleman was clutching a crumpled brown bag, holding it a few inches in front of him. He walked up to the door of the landlord's office and with his right hand grasped the round black doork.n.o.b, jiggling it back and forth several times. There was a loud click that echoed down the hallway of that old downtown building. The gentleman turned his head and looked at Spence for the first time, smiling briefly before admitting himself to the office of Herman Zick.

Again the photographer experienced that surge of panic he had felt the day before when he visited the suburban offices of TG Ventures. He pushed the down b.u.t.ton for the elevator, and while waiting he listened at the door of the landlord's office. What he heard, Spence claimed, was that terrible sound that had sent him running out into the street from TG Ventures, that 'abysmal resonance,' as he defined it. Suddenly the gentleman with the well-groomed beard and black-rimmed gla.s.ses emerged from the tiny office. The door to the elevator had just opened, and the man walked straight past Spence to board the empty compartment. Spence himself did not get in the elevator but stood outside, helplessly staring at the bearded gentleman, who was still holding that small crumpled bag. A split second before the elevator doors slid closed, the gentleman looked directly at Spence and winked at him. It was the a.s.sertion of the photographer that this wink, executed from behind a pair of black-framed eyegla.s.ses, made a mechanical clicking sound which echoed down the dim hallway. Prior to his exit from the old downtown building, leaving by way of the stairs rather than the elevator, Spence tried the door to his landlord's office. He found it unlocked and cautiously stepped inside. But there was no one on the other side of the door.

The conclusion to the photographer's adventure took place a full week later. Delivered by regular post to his mail box was a small square envelope with no return address. Inside was a photograph. He brought this item to Des Esseintes' Library, a bookstore where several of us were giving a late-night reading of our latest literary efforts. A number of persons belonging to the local artistic underworld, including myself, saw the photograph and heard Spence's rather frantic account of the events surrounding it. The photo was of Spence himself staring stark-eyed into the camera, which apparently had taken the shot from inside an elevator, a panel of numbered b.u.t.tons being partially visible along the right-hand border of the picture. 'I could see no camera,' Spence kept repeating. 'But that wink he gave me... and what's written on the reverse side of this thing.' Turning over the photo Spence read aloud the following handwritten inscription: 'The little man is so much littler these days. Soon he will know about the soft black stars. And your payment is past due.' Someone then asked Spence what they had to say about all this at the offices of TG Ventures. The photographer's head swivelled slowly in exasperated negation. 'Not there anymore,' he said over and over. With the single exception of myself, that night at Des Esseintes' Library was the last time anyone would see Spence.

After the photographer ceased to show up at the usual meeting places and special artistic events, there were no cute remarks about his having 'gone with the Teatro.' We were all of us beyond that stage. I was perversely proud to note that a degree of philosophical maturity had now developed among those in the artistic underworld of which I was a part. There is nothing like fear to complicate one's consciousness, inducing previously unknown levels of reflection. Under such mental stress I began to organize my own thoughts and observations about the Teatro, specifically as this phenomenon related to the artists who seemed to be its sole objects of attention.

Whether or not an artist was approached by the Teatro or took the initiative to approach the Teatro himself, it seemed the effect was the same: the end of an artist's work. I myself verified this fact as thoroughly as I could. The filmmaker whose short movie Private h.e.l.l so many of us admired had, by all accounts, become a full-time dealer in p.o.r.nographic videos, none of them his own productions. The self-named visceral artist had publicly called an end to those stunts of his which had gained him a modest underground reputation. According to his roommate, the purple woman's cousin, he was now managing the supermarket where he had formerly labored as a stock clerk. As for the purple woman herself, who was never much praised as an artist and whose renown effectively began and ended with the 'cigar box a.s.semblage' phase of her career, she had gone into selling real estate, an occupation in which she became quite a success. This roster of ex-artists could be extended considerably, I am sure of that. But for the purposes of this report or confession (or whatever else you would like to call it) I must end my list of no-longer-artistic persons with myself, while attempting to offer some insights into the manner in which the Teatro Grottesco could transform a writer of nihilistic prose works into a non-artistic, more specifically a post-artistic being.

It was after the disappearance of the photographer Spence that my intuitions concerning the Teatro began to crystallize and become explicit thoughts, a dubious process but one to which I am inescapably subject as a prose writer. Until that point in time, everyone tacitly a.s.sumed that there was an intimacy of kind between the Teatro and the artists who were either approached by the Teatro or themselves approached this cruel troupe by means of some overture, as in the case of Spence, or perhaps by gestures more subtle, even purely noetic (I retreat from writing unconscious, although others might argue with my intellectual reserve). Many of us even spoke of the Teatro as a manifestation of super-art, a term which we always left conveniently nebulous. However, following the disappearance of the photographer, all knowledge I had acquired about the Teatro, fragmentary as it was, became configured in a completely new pattern. I mean to say that I no longer considered it possible that the Teatro was in any way related to a super-art, or to an art of any kind-quite the opposite in fact. To my mind the Teatro was, and is, a phenomenon intensely destructive of everything that I conceived of as art. Therefore, the Teatro was, and is, intensely destructive of all artists and even of highly artistic persons. Whether this destructive force is a matter of intention or is an epiphenomenon of some unrelated, perhaps greater design, or even if there exists anything like an intention or design on the part of the Teatro, I have no idea (at least none I can elaborate in comprehensible terms). Nonetheless, I feel certain that for an artist to encounter the Teatro there can be only one consequence: the end of that artist's work. Strange, then, that knowing this fact I still acted as I did.

I cannot say if it was I who approached the Teatro or vice versa, as if any of that stupidness made a difference. The important thing is that from the moment I perceived the Teatro to be a profoundly anti-artistic phenomenon I conceived the ambition to make my form of art, by which I mean my nihilistic prose writings, into an anti-Teatro phenomenon. In order to do this, of course, I required a penetrating knowledge of the Teatro Grottesco, or of some significant aspect of that cruel troupe, an insight of a deeply subtle, even dreamlike variety into its nature and workings.

The photographer Spence had made a great visionary advance when he intuited that it was in the nature of the Teatro to act on his request to utterly destroy someone (although the exact meaning of the statement 'he will know about the soft black stars,' in reference to Spence's landlord, became known to both of us only sometime later). I realized that I would need to make a similar leap of insight in my own mind. While I had already perceived the Teatro to be a profoundly anti-artistic phenomenon, I was not yet sure what in the world would const.i.tute an anti-Teatro phenomenon, nor how in the world I could turn my own prose writings to such a purpose.

Thus, for several days I meditated on these questions. As usual, the psychic demands of this meditation severely taxed my bodily processes, and in my weakened state I contracted a virus, specifically an intestinal virus, which confined me to my small apartment for a period of one week. Nonetheless, it was during this time that things fell into place regarding the Teatro and the insights I required to oppose this company of nightmares in a more or less efficacious manner.

Suffering through the days and nights of an illness, especially an intestinal virus, one becomes highly conscious of certain realities, as well as highly sensitive to the functions of these realities, which otherwise are not generally subject to prolonged attention or meditation. Upon recovery from such a virus, the consciousness of these realities and their functions necessarily fades, so that the once-stricken person may resume his life's activities and not be driven to insanity or suicide by the acute awareness of these most unpleasant facts of existence. Through the illumination of a.n.a.logy, I came to understand that the Teatro operated in much the same manner as the illness from which I had recently suffered, with the consequence that the person exposed to the Teatro-disease becomes highly conscious of certain realities and their functions, ones quite different of course from the realities and functions of an intestinal virus. However, an intestinal virus ultimately succ.u.mbs, in a reasonably healthy individual, to the formation of antibodies (or something of that sort). But the disease of the Teatro, I now understood, was a disease for which no counteracting agents, or antibodies, had ever been created by the systems of the individuals-that is, the artists-it attacked. An encounter with any disease, including an intestinal virus, serves to alter a person's mind, making it intensely aware of certain realities, but this mind cannot remain altered once this encounter has ended or else that person will never be able to go on living in the same way as before. In contrast, an encounter with the Teatro appears to remain within one's system and to alter a person's mind permanently. For the artist the result is not to be driven into insanity or suicide (as might be the case if one a.s.sumed a permanent mindfulness of an intestinal virus) but the absolute termination of that artist's work. The simple reason for this effect is that there are no antibodies for the disease of the Teatro, and therefore no relief from the consciousness of the realities which an encounter with the Teatro has forced upon an artist.

Having progressed this far in my contemplation of the Teatro-so that I might discover its nature or essence and thereby make my prose writings into an anti-Teatro phenomenon-I found that I could go no further. No matter how much thought and meditation I devoted to the subject I did not gain a definite sense of having revealed to myself the true realities and functions that the Teatro communicated to an artist and how this communication put an end to that artist's work. Of course I could vaguely imagine the species of awareness that might render an artist thenceforth incapable of producing any type of artistic efforts. I actually arrived at a fairly detailed and disturbing idea of such an awareness-a world-awareness, as I conceived it. Yet I did not feel I had penetrated the mystery of 'Teatrostuff.' And the only way to know about the Teatro, it seemed, was to have an encounter with it. Such an encounter between myself and the Teatro would have occurred in any event as a result of the discovery that my prose writings had been turned into an anti-Teatro phenomenon: this would const.i.tute an approach of the most outrageous sort to that company of nightmares, forcing an encounter with all its realities and functions. Thus it was not necessary, at this point in my plan, to have actually succeeded in making my prose writings into an anti-Teatro phenomenon. I simply had to make it known, falsely, that I had done so.

As soon as I had sufficiently recovered from my intestinal virus I began to spread the word. Every time I found myself among others who belonged to the so-called artistic underworld of this city I bragged that I had gained the most intense awareness of the Teatro's realities and functions, and that, far from finishing me off as an artist, I had actually used this awareness as inspiration for a series of short prose works. I explained to my colleagues that merely to exist-let alone create artistic works-we had to keep certain things from overwhelming our minds. However, I continued, in order to keep these things, such as the realities of an intestinal virus, from overwhelming our minds we attempted to deny them any voice whatsoever, neither a voice in our minds nor, certainly, a precise and clear voice in works of art. The voice of madness, for instance, is barely a whisper in the babbling history of art because its realities are themselves too maddening to speak of for very long-and those of the Teatro have no voice at all, given their imponderably grotesque nature. Furthermore, I said, the Teatro not only propagated an intense awareness of these things, these realities and functionings of realities-it was identical with them. And I, I boasted, had allowed my mind to be overwhelmed by all manner of Teatro stuff, while also managing to use this experience as material for my prose writings. 'This,' I practically shouted one day at Des Esseintes' Library, 'is the super-art.' Then I promised that in two days' time I would give a reading of my series of short prose pieces.

Nevertheless, as we sat around on some old furniture in a corner of Des Esseintes' Library, several of the others challenged my statements and a.s.sertions regarding the Teatro. One fellow writer, a poet, spoke hoa.r.s.ely through a cloud of cigarette smoke, saying to me: 'No one knows what this Teatro stuff is all about. I'm not sure I believe it myself.' But I answered that Spence knew what it was all about, thinking that very soon I too would know what he knew. 'Spence!' said a woman in a tone of exaggerated disgust (she once lived with the photographer and was a photographer herself). 'He's not telling us about anything these days, never mind the Teatro.' But I answered that, like the purple woman and the others, Spence had been overwhelmed by his encounter with the Teatro, and his artistic impulse had been thereby utterly destroyed. 'And your artistic impulse is still intact,' she said snidely. I answered that, yes, it was, and in two days I would prove it by reading a series of prose works that exhibited an intimacy with the most overwhelmingly grotesque experiences and gave voice to them. 'That's because you have no idea what you're talking about,' said someone else, and almost everyone supported this remark. I told them to be patient, wait and see what my prose writings revealed to them. 'Reveal?' asked the poet. 'h.e.l.l, no one even knows why it's called the Teatro Grottesco.' I did not have an answer for that, but I repeated that they would understand much more about the Teatro in a few days, thinking to myself that within this period of time I would have either succeeded or failed in my attempt to provoke an encounter with the Teatro and the matter of my nonexistent anti-Teatro prose writing would be immaterial.

On the very next day, however, I collapsed in Des Esseintes' Library during a conversation with a different congregation of artists and highly artistic persons. Although the symptoms of my intestinal virus had never entirely disappeared, I had not expected to collapse the way I did and ultimately to discover that what I thought was an intestinal virus was in fact something far more serious. As a consequence of my collapse, my unconscious body ended up in the emergency room of a nearby hospital, the kind of place where borderline indigents like myself always end up-a backstreet hospital with dated fixtures and a staff of sleepwalkers.

When I next opened my eyes it was night. The bed in which they had put my body was beside a tall paned window that reflected the dim fluorescent light fixed to the wall behind me, creating a black glare in the windowpanes that allowed no view of anything beyond them, only a broken image of myself and the room where I had been a.s.signed for treatment. There was a long row of these tall paned windows and several other beds in the ward, each of them supporting a sleeping body that, like mine, was damaged in some way and therefore had been committed to that backstreet hospital.

I felt none of the extraordinary pain that had caused me to collapse in Des Esseintes' Library. At that moment, in fact, I could feel nothing of the experiences of my past life: it seemed I had always been an occupant of that dark hospital wards and always would be. This sense of estrangement from both myself and everything else made it terribly difficult to remain in the hospital bed where I had been placed. At the same time I felt uneasy about any movement away from that bed, especially any movement that would cause me to approach the open doorway which led into a half-lighted backstreet hospital corridor. Compromising between my impulse to get out of my bed and my fear of moving away from the bed and approaching that corridor, I positioned myself so that I was sitting on the edge of the mattress with my bare feet grazing the cold linoleum floor. I had been sitting on the edge of that mattress for quite a while before I heard the voice out in the corridor.

The voice came over the public address system, but it was not a particularly loud voice. In fact I had to strain my attention for several minutes simply to discern the peculiar qualities of the voice and to decipher what it said. It sounded like a child's voice, a sing-song voice full of taunts and mischief. Over and over it repeated the same phrase-paging Dr Groddeck, paging Dr Groddeck. The voice sounded incredibly hollow and distant, garbled by all kinds of interference. Paging Dr Groddeck, it giggled from the other side of the world.

I stood up and slowly approached the doorway leading out into the corridor. But even after I had crossed the room in my bare feet and was standing in the open doorway, that child's voice did not become any louder or any clearer. Even when I actually moved out into that long dim corridor with its dated lighting fixtures, the voice that was calling Dr Groddeck sounded just as hollow and distant. And now it was as if I were in a dream in which I was walking in my bare feet down a backstreet hospital corridor, hearing a crazy voice that seemed to be eluding me as I moved past the open doorways of innumerable ward full of damaged bodies. But then the voice died away, calling to Dr Groddeck one last time before fading like the final echo in a deep well. At the same moment that the voice ended its hollow outcrying, I paused somewhere toward the end of that shadowy corridor. In the absence of the mischievous voice I was able to hear something else, a sound like quiet, wheezing laughter. It was coming from the room just ahead of me along the right-hand side of the corridor. As I approached this room I saw a metal plaque mounted at eye level on the wall, and the words displayed on this plaque were these: Dr T. Groddeck.

A strangely glowing light emanated from the room where I heard that quiet and continuous wheezing laughter. I peered